Gameplay Design
Gameplay Design Please note this section has been written by two people; Hugh Brown, 1702324 and Antonio Valvona-Smith, 1803277. They are on separate pages for increased clarity, Antonio's is linked at the bottom of this page. Some information is out of traditional ordering style for this reason. Introduction Plainview Chronicles is a puzzle-platformer investigation game aimed primarily at a demographic of 7-11. It’s gameplay is designed to be simpler and more direct than most titles of its genre, with a focus on interesting visuals and fun storytelling/setpieces. It’s gameplay is designed around character abilities and how they work in two distinct gameplay spaces as well as how these elements are evolved with increases in gameplay tension, intensity of a level increasing over time. As it’s for younger audiences it is not designed to be scary, but instead to have an air of mystery with a few small thrills. Gameplay Spaces Levels are constructed of two alternating spaces; exploration in a 2D space, and investigation in an isometric 3D space. Each space has gameplay specific to it that lends well to the space and avoids extraneous details, keeping the gameplay straightforward and clear. There is roughly equal time spent in each space and it transitions between the two spaces a few times per level at major points, foreshadowed clearly by environmental design. 2D space is largely outside; environments such as streets, paths, and other transitional areas. Isometric space is largely inside; houses, caverns, forest clearings. Exploration Primary gameplay in the 2D space is dialogue and platforming that contains minor puzzle elements. Dialogue is linear and is used to introduce story elements of a level, this does not cover dialogue between player characters. This dialogue is the focus of those moments with characters stopping and the view focusing on those conversing. It is kept to the 2D space as it is simple and does not rely on much environmental storytelling. It is direct, understandable for those in the younger demographic, and the increased detail in an isometric space is unnecessary. Platforming takes place around objectives and as the player approaches a transition to isometric space, becoming more difficult as they approach. It consists of navigating simple obstacles; moving boxes and rope to reach new areas, avoiding light hazards such as water, and using character abilities to assist in this; and the majority of gameplay it is non-intense and the player can neither achieve a game over nor are they under a time pressure. In later parts of a level when the intensity does increase platforming sequences become chases were the player has a focused goal to follow or is running away from something. Here the environment becomes more dynamic and the player must be reactive. Platforming has been kept to the 2D space in order to keep it from becoming too complex and because it is a transitional act (going from one location to another) it remains focused heading in one direction. Investigation Primary gameplay in the isometric space is puzzling through the environment and finding exposition about story elements through this puzzling. Puzzling consists of largely simple, environmental puzzles with occasional moments of more difficult puzzles which require basic maths or english skills. Examples include finding hidden switches, searching for visual clues in a room, or riddles such that it is an accessible challenge to younger audiences. This gameplay takes place is an isometric space as it differentiates them to the lighter puzzles in the 2D platforming and it lends well to increased complexity, and visual, narrative puzzle styles. Between puzzle elements is story exposition in the form of notes, books, and observations by characters in dialogue. Their purpose is to both advance the story elements and to direct the player towards their goals, more investigation or transitioning back to 2D space. Isometric segments have initially a light tension driven primarily by the mystery of exposition and environment. In later more intense segments it can be more pressured with puzzling becoming light stealth as well as setting traps in the same style as the puzzling. By Hugh Brown, 1702324. '' '''Continuation' Section by Antonio Valvona-Smith, 1803277 can be found at: Controls and Gameplay Mechanics